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To do a television show, one can be sort of spoiled. You get to have your own trailer, your own space - that sort of thing.

You were there all day long, 12 hours a day. So there was none of this, 'I'm going back to my trailer, my trailer's bigger than your trailer,' that kind of Hollywood nonsense.

I don't need a trailer; I don't need to have the luxuries of what is Hollywood, which is why I'm probably not so desperate to get there.

By year three, you get nicer, bigger trailers.

With 'Captain America,' you might have three lines of dialogue the whole day. And there are just a million angles and a million set-ups, and it's tedious.

The thing I hated about it was that you live in your trailer all the time and then they call you and you do maybe two dozen lines. Then they do that for three hours and you wait and wait and wait, and I don't like waiting.

If people are worried about the size of their trailers, I kind of say their priorities are off.

The beating heart of your story... that's not what shows up in a trailer. The other stuff is what shows up in a trailer, because that's what gets people in to the seats, and that's how studios make their money.

I'm not trying to steal the show. I tend to shy away from - I don't want to say the spotlight - how about responsibility? It's just very daunting. These movies are very intimidating. 'Captain America.' This is the stuff I struggle with.

Making films can be absolutely fantastic, but it can also be incredibly dull. You spend the whole day sitting by yourself in your trailer and then you get called to deliver one sentence - then you're told to come back and do it again at 5:30 the following morning.